In 1947, Michael Curtiz set up his own production unit at Warner Bros.
The deal he struck saw this versatile director being allowed to choose his own projects and not merely be assigned films as a house director, while at the same time enjoying the full production facilities of the studio. This film was the first project of what was sadly a short-lived arrangement, chiefly because box office returns on this film were so disappointing.
The script peppered with snappy one-liners and wisecracks particularly for Audrey Totter and Constance Bennett, was by Ranald MacDougall from an adaptation by Curtiz' wife Bess Meredyth of a dime novel by Charlotte Armstrong. MacDougall had previously done the witty screenplay for the superb noir classic, MILDRED PIERCE in 1945 (also directed by Curtiz) and his gift for tart dialogue made the role of Eve Arden in that film especially memorable.
It is likely that Curtiz envisioned the story of THE UNSUSPECTED as the perfect vehicle for Claude Rains, an actor he had worked with frequently before (The Adventures of Robin Hood, Four Daughters, The Sea Hawk, Casablanca etc) and who was renowned for his distinctive, memorable voice. Victor Grandison is a famous radio star because of the hypnotic power of his voice in relating his celebrated true life crime stories and it would be difficult to imagine another actor in the role, save possibly for Basil Rathbone.
The story is complex and not entirely believable, and has several plot holes. The most serious concerns the first murder. If Grandison is able to catch an earlier train because he has used a recording of his broadcast and not performed "live", surely his so-called alibi would have been exposed by colleagues at the radio station - especially his secretary (Constance Bennett)? This is never explained.
No matter. What makes this thriller so eminently watchable are the delicious ingredients lavished on the telling - especially the superb art direction by Anton Grot who would have undoubtedly story-boarded the many memorable images as was his practise - and the distinctive camera-work of Woody Bredell.
Between them, Grot, Curtiz and Bredell bring a Germanic, expressionistic style to almost every scene and there are some amazing trick shots that must have taken days to light properly. Check out the remarkable scene near the end where, as kindly Grandison reassures his niece that all will be well, a wine glass with fizzing content is in close-up and sharp focus and we then realise it has been poisoned by Grandison.
Add to this virtuosity of film making, a beautifully atmospheric score by Franz Waxman, a fascinating cast and a star turn by Claude Rains and this overlooked gem is in a class of its own.
I have never understood why Curtiz is so under-rated. I would know his style within a few shots. His fluid camera, always roving and engaging with the action and the characters, makes CASABLANCA the classic it is and is why we always feel we have really been to Rick's café.
THE UNSUSPECTED is so enjoyable because of Curtiz holding our interest through sheer visual flair and bears frequent repeat viewing. Its weaknesses are quite forgivable when one considers its many pleasures.
The deal he struck saw this versatile director being allowed to choose his own projects and not merely be assigned films as a house director, while at the same time enjoying the full production facilities of the studio. This film was the first project of what was sadly a short-lived arrangement, chiefly because box office returns on this film were so disappointing.
The script peppered with snappy one-liners and wisecracks particularly for Audrey Totter and Constance Bennett, was by Ranald MacDougall from an adaptation by Curtiz' wife Bess Meredyth of a dime novel by Charlotte Armstrong. MacDougall had previously done the witty screenplay for the superb noir classic, MILDRED PIERCE in 1945 (also directed by Curtiz) and his gift for tart dialogue made the role of Eve Arden in that film especially memorable.
It is likely that Curtiz envisioned the story of THE UNSUSPECTED as the perfect vehicle for Claude Rains, an actor he had worked with frequently before (The Adventures of Robin Hood, Four Daughters, The Sea Hawk, Casablanca etc) and who was renowned for his distinctive, memorable voice. Victor Grandison is a famous radio star because of the hypnotic power of his voice in relating his celebrated true life crime stories and it would be difficult to imagine another actor in the role, save possibly for Basil Rathbone.
The story is complex and not entirely believable, and has several plot holes. The most serious concerns the first murder. If Grandison is able to catch an earlier train because he has used a recording of his broadcast and not performed "live", surely his so-called alibi would have been exposed by colleagues at the radio station - especially his secretary (Constance Bennett)? This is never explained.
No matter. What makes this thriller so eminently watchable are the delicious ingredients lavished on the telling - especially the superb art direction by Anton Grot who would have undoubtedly story-boarded the many memorable images as was his practise - and the distinctive camera-work of Woody Bredell.
Between them, Grot, Curtiz and Bredell bring a Germanic, expressionistic style to almost every scene and there are some amazing trick shots that must have taken days to light properly. Check out the remarkable scene near the end where, as kindly Grandison reassures his niece that all will be well, a wine glass with fizzing content is in close-up and sharp focus and we then realise it has been poisoned by Grandison.
Add to this virtuosity of film making, a beautifully atmospheric score by Franz Waxman, a fascinating cast and a star turn by Claude Rains and this overlooked gem is in a class of its own.
I have never understood why Curtiz is so under-rated. I would know his style within a few shots. His fluid camera, always roving and engaging with the action and the characters, makes CASABLANCA the classic it is and is why we always feel we have really been to Rick's café.
THE UNSUSPECTED is so enjoyable because of Curtiz holding our interest through sheer visual flair and bears frequent repeat viewing. Its weaknesses are quite forgivable when one considers its many pleasures.